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Intercultural Aesthetics in Traditional Chinese Theatre From 1978 to the Present 1st edition by Wei Feng ISBN 3030406342 9783030406349

Name: Intercultural Aesthetics in Traditional Chinese Theatre From 1978 to the Present 1st edition by Wei Feng ISBN 3030406342 9783030406349
SKU: EB-22448364
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Intercultural Aesthetics in Traditional Chinese Theatre: From 1978 to the Present Wei Feng Digital Instant Download

Author(s): Wei Feng

ISBN(s): 9783030406349, 9783030406356, 3030406342, 3030406350

Edition: 1st ed.

File Details: PDF, 3.18 MB

Year: 2020

Language: English

SKU: EB-22448364 Category: Arts - Performing Arts Tag: Wei Feng

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Intercultural Aesthetics in Traditional Chinese Theatre From 1978 to the Present 1st edition by Wei Feng – Ebook PDF Instant Download/Delivery: 3030406342, 978-3030406349
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ISBN 10: 3030406342
ISBN 13: 978-3030406349
Author: Wei Feng

This book traces the transformation of traditional Chinese theatre’s (xiqu) aesthetics during its encounters with Western drama and theatrical forms in both mainland China and Taiwan since 1978. Through analyzing both the text and performances of eight adapted plays from William Shakespeare, Bertolt Brecht, and Samuel Beckett, this book elaborates on significant changes taking place in playwriting, acting, scenography, and stage-audience relations stemming from intercultural appropriation. As exemplified by each chapter, during the intercultural dialogue of Chinese and foreign elements there exists one-sided dominance by either culture, fusion, and hybridity, which corresponds to the various facets of China’s pursuit of modernity between its traditional and Western influences.

Intercultural Aesthetics in Traditional Chinese Theatre From 1978 to the Present 1st Table of contents:

1. Introduction

2. ‘Egotistic’ Adaptations of King Lear: Intercultural Playwrights Haunted by Tradition

3. Border-Crossing Chou Actors in Beckettian Jingju

4. Expressionistic Chuanju: Ghosts and Scenography in Lady Macbeth

5. Reframing Audience Experiences: Brechtian Estrangement and Metatheatricality Displaced in Xiqu

6. Conclusion

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